PROCESSIONAL CAROL

The Babe of Bethlehem (from Southern Harmony, 1835)

Invocation

GATHERING CAROLS

On Jordan’s Bank

All Earth Is Waiting

FIRST LESSON: Genesis 3:8-15 God announces in the Garden of Eden that the seed of the woman shall bruise the serpent’s head.

Hear Dorothy Otte’s reading of Genesis 3

Come, Thou Long-Expected Jesus

SECOND LESSON: Genesis 22:15-18 God promises to faithful Abraham that in his seed shall the nations of the earth be blessed.

O Abram, Look Up to the Sky (Jim Clemens, from A Field of Voices)

THIRD LESSON: Isaiah 9:2,6-7 Christ’s birth and kingdom are foretold by Isaiah.

Before the Marvel of This Night (Vajda/Schalk, Augsburg Fortress)

FOURTH LESSON: Isaiah 11:1-9 The peace that Christ will bring is foreshown.

Peace in the Valley (Thomas Dorsey; Chris Smit on vocals)

FIFTH LESSON: Isaiah 40:1-5 Isaiah speaks comfort.

Comfort, Comfort Ye My People

SIXTH LESSON: Luke 1:26-38 The angel Gabriel salutes the virgin Mary.

In This Quiet Annunciation (Carlos Colón)

Mary, Mary (youth choir; Richard K. Avery and Donald S. Marsh/arranged by Michael Burkhardt)

SEVENTH LESSON: Luke 2:1-7 The birth of Jesus.

O Magnum Mysterium (Tomás Luis de Victoria)

EIGHTH LESSON: Luke 2:8-16 The shepherds go to the manger.

Infant Holy, Infant Lowly and  Angels We Have Heard on High

Benediction

Recessional

Go Tell It on the Mountain

Feel free to email with questions about where to find these arrangements. We’ve been holding Lessons & Carols services for a number of years; check out some past services: 2010, 2009, 2008, 2007.

The judges evaluated 57 submissions from all over the world, with styles ranging from metrical to responsorial, from four-part to folk to free form, and voted Browning’s submission the best over all. The judges were looking for a song that was faithful to the Psalm text, but also creative and singable. Browning brings out the humble simplicity of Psalm 131 without being simplistic. “Help Me Have the Faith of a Child” is skillfully arranged for four-part singing and piano, and offers a number of ostinato options (a la Taizé). Further, the song’s Black Gospel style brings a fresh and less-frequently heard musical voice to the Church’s Psalm repertoire.

Carol Browning’s song will be premiered at Church of the Servant on January 29, 2012 during its 8:30 and 11am worship services.

Congratulations to Carol, and to all the composers who submitted such fine songs. We hope this music will serve Church of the Servant and many other congregations for years to come. Special thanks are due the contest judges who took the time to play through each submission carefully and discuss them gracefully.

Questions about this year’s contest or inquiries about future contests can be directed to Greg Scheer.

Many of you will remember in great detail the ways in which worship services on the Sunday after the attacks either providing a place for grief and belief simultaneously, or created a dissonance between faith and reality. Ten years later, we have another chance to understand national tragedy within the framework of our faith.

Providentially, our series on the Psalms of Ascents began that day with Psalm 120, a lament spoken by an immigrant living in a land of war. We not only heard a sermon on that scripture, but also sang the Psalm in the form of Bruce Benedict’s wistful “O God of Love” and the rigorous “In My Distress,” found in the Psalter Hymnal.

During communion, we turned again to the Psalms of lament, singing “By the Babylonian Rivers,” a setting of Psalm 137, which segued right into the quintessential global song of lament, “For the Troubles and the Suffering of the World,” from Brazil. We ended communion with “How Can I Keep from Singing?” This spritely song may not see like an obvious choice for such a service, but the setting we used cast the verses in a minor key, bringing out the text’s true theme: secure faith in a world of uncertainty.

Here is an MP3 recording of a father/daughter scripture reading from the September 4 worship service. Todd and Anya Kapitula have clearly taken great care rehearsing their readings. There’s something about the voice of a child reading the ethereal words of  John 1:1-13 that allows us to hear the words with fresh ears.

And isn’t that what reading scripture in worship is all about?

Psalm 17 is full of sentiments that are difficult on first reading. David (the Psalmist, not the composer) sets up his own innocence (“if you test me, you will find no wickedness in me”) against his persecutors’ deceit (“with their mouths they speak arrogantly”; “The track me down…like a young lion lurking in ambush”), then calls on God for vengeance (“Rise up, O Lord…by your sword deliver my life from the wicked.”). Not easy for the modern reader.

But David (the composer, not the Psalmist) helps us dig into the text with his musical setting. He draws on a jazz ballad style to create a sense of tension and pleading. That allows us to hear this Psalm as a prayer of desperation rather than a self-righteous defense. Suddenly, we can put ourselves in the Psalmist’s sandals, remembering the times we have been wronged or praying this Psalm on behalf of the persecuted innocents around the world.

Hear for yourself: MP3

This contest is made possible by a generous donation in memory of  Ben Fackler, who loved all things musical.

WHAT TO SUBMIT

• A congregational song based on a Psalm or a significant portion of a Psalm.
• Any musical style or lyrical form. Creativity is encouraged.
• Settings may include solo, choir, readers, and instrumentalists, as long as the congregation is given a significant role. Available musicians include piano (no organ), choir, cantors/vocal soloists, a variety of advanced instrumentalists, string ensemble, Joyful Noise Orchestra (small orchestra), Guitarchestra (folk ensemble of guitars, fiddle, accordion, etc), and hand percussion.
• Songs based on the Psalms of Ascent (120-134) are especially welcome this year, and settings of less frequently sung Psalms are always encouraged.
• Music submissions should be at minimum in lead sheet (melody, lyrics, chord symbols) or hymn (two staves, four parts) format. Fully notated accompaniment parts are encouraged, and MP3 demos can be helpful.
• Texts without music will be considered; text-only submissions should include tune suggestions.

SUBMISSION GUIDELINES

• Submissions may be emailed as PDF attachments to music@churchoftheservantcrc.org or mailed to New Psalm Contest, Church of the Servant, 3835 Burton St SE, Grand Rapids, MI 49546.
• Do not print your name or identifying marks on the music itself. Instead, include all contact info in the body of the email or in a cover letter.
• No more than two submissions per person.
• The contest is open to everyone (except the judges).
• Only unpublished songs that have received no awards may be submitted.
• If a submission is co-authored or uses copyrighted material, proof of permission must be included.
• Submissions will not be returned. Please do not send original copies.
• All submissions must be emailed or postmarked by October 1, 2011.

JUDGING

• Submissions will be judged on their quality and usability at Church of the Servant.
• $500 will be awarded the winner. Judges have the right to award no winner or divide the award money as they see fit.
• Contest results will be made public by November 30, 2011.
• Premiere will take place in worship at Church of the Servant on January 29, 2012. The winning composer is welcome to attend, but travel funds are not available.

FINE PRINT

• Composer retains all rights to the song and is encouraged to seekpublication.
• All future dissemination of the song will include the phrase “Winner of the Church of the Servant 2011 New Psalm Contest, in memory of Ben Fackler.”
• Winner grants Church of the Servant the right to use the song in its worship and publicize his/her name.

(A printable PDF document of these contest guidelines is also available.) Questions should be directed to Greg Scheer (music@churchoftheservantcrc.org; 616-956-7611).

Of course, what seems like a creative idea in a worship planner’s office during the week has a lot of potential to be really tacky in an actual worship service. That was my fear this week when I planned to use “Since by Man Came Death” during the confession. But I ran a draft by a few of my fellow liturgy geek friends–or, “tackometers” as I like to call them–and they gave me the thumbs up and some ideas for tweaking it.

I’m happy to report that it worked really well. It was a healthy musical challenge for the choir and strings, and fit into the liturgy in a way that was meaningful rather than distracting. Take a listen to the recording of the “Since by Man Confession.” While you’re at it, take a listen to the lectionary Psalm for the day: Marty Haugen’s setting of Psalm 23, Shepherd Me, O God.

We Have Come to Join in Worship: PDF, MP3

What a Friend We Have in Jesus: PDF, MP3

He Leadeth Me: PDF, MP3

Scheer Doxology: PDF, MP3

And as a little reward for your diligent rehearsing, here’s a little Holy Manna Remix: MP3

I was walking from my car, and it was so picturesque that I put down my backpack, opened up my laptop, and started taking pictures.

The second perk was getting to lead some great songs. Here are two:

My Shepherd Will Supply My Need

There Is a Fountain Filled with Blood

The final perk was getting to lead worship with the Guitarchestra, which now includes Laura de Jong on vocals. It’s hard not to enjoy a group that can boast about 100 strings between them. Plus, they’re just interesting, fun people.